Category: V

robe volante

18th century, R, term definition, V

A dress originating in 18th-century France which was pleated at the shoulder and hung loose down, worn over hoops.

vest/waistcoat

17th century, 18th century, 19th century, 20th century, term definition, V, W

A close-fitting inner garment, usually worn between jacket and shirt.

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The dashiki is a loose-fitting pullover tunic trad

The dashiki is a loose-fitting pullover tunic traditionally worn in West African cultures that was adopted by African diasporic communities as a symbol of African heritage in the 1960s. It was then more widely worn as a popular item of “ethnic” fashion. The Encyclopedia of Clothing and Fashion offers a brief definition of the dashiki: “A pullover shirt usually sewn from colorful, African-inspired cotton prints or from solid color fabrics, often with patch pockets and embroidery at the neckline and cuffs. The dashiki appeared on the American fashion scene during the 1960s when embraced by the black pride and white counterculture movements. ‘Dashiki’ is a loanword from the West African Yoruba term danshiki, which refers to a short, sleeveless tunic worn by men.” Author Norma Wolff goes on to describe its origins and its rise in American culture: “The Yoruba dashiki was originally sewn from hand-woven strip cloth. It has deep-cut armholes with pockets below and four gussets set to create a flare at the hem. Similar tunics found in Dogon burial caves in Mali date to the twelfth and thirteenth centuries. In many parts of West Africa today such tunics are worn with matching trousers as street clothes. In the 1960s, the dashiki appeared in the American ethnic fashion inventory, along with other Afrocentric clothing styles, possibly from the example of African students and African diplomats at the United Nations in New York. Both sexes wear the shirt, and women wear short or full-length dashiki dresses.’’ A 1970 dashiki dress was designed and worn by Fath Davis Ruffins, curator of the National Museum of American History since 1981. She made a matching head tie to wear with it, which was a common practice. Jazz musician Eddie Harris wore a printed dashiki while playing saxophone at a performance in Hollywood, Florida in 1983. Dashikis can be made out of a wide array of fabrics including “African print brocade, silk, lace, suiting, or cotton fabrics.’’

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Ann Lowe’s 1953 wedding dress she designed for J

Davide Ghirlandaio was a 15th-century Italian arti

Davide Ghirlandaio was a 15th-century Italian artist known for his mosaics and paintings. He was mostly commissioned for mosaics in cathedrals, but there were also paintings done for churches and for other patrons. Although there has been some confusion as to who created this portrait since Davide’s brother was also a painter, it has now been confirmed to be by Davide as it features left-handed brush strokes, exclusively done by Davide. Selvaggia Sassetti was the fifth daughter of Francesco Sassetti, an Italian banker, and her portrait was most likely painted in anticipation of her marriage. However, she appears younger in the painting, since it was commissioned three years before her actual marriage. Selvaggia wore a fitted, green silk gown with an attached translucent veil wrapped over her shoulder. The green gown is fastened with a black lacing in a simple criss-cross manner, which exposes an inner white blouse with compressed folds. Also, the shoulders have open seams in the tight fitting sleeves that, again, reveal the blouse underneath. Her gown has a rectangular neckline, exposing her neck and collarbone. She wears an eye-catching, bright red beaded necklace, perhaps made of coral, with a round gold pendant mounted with a red stone in the center, as well as two rose-shaped ornaments attached to the side with three pearls hanging from below. It stands out against her pale complexion and complements the green of her gown. Her dress appears to be made of watered silk, indicating she is a part of the upper class. Her father was a banker, therefore, he could afford to commission several paintings of her. Read more at the link in the bio!
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Charles James’ 1955 “Butterfly” gown feature

Charles James’ 1955 “Butterfly” gown features a body-conscious sculpted sheath and large bustle skirt, which is reminiscent of the tightly fitted bustle dresses of the early 1880s. The garment is perhaps one of his most notable pieces since it embodies his exquisite attention to detail and architectural capabilities within fashion. James often utilized similar fabrics in different colors or different fabrics in similar colors in order to display his expertise between form, color, and texture. The ‘Butterfly’ dress features a cream and brown palette and a pop of color in the purple tulle that makes up the billowing skirt. Made from silk chiffon, silk satin, and twenty-five yards of nylon tulle, the dress wrapped the wearer’s body in sensual femininity and extravagance. Weighing a total of eighteen pounds, the enormous bustle skirt moved swiftly with the wearer’s body and its satin side flanges emulate the beauty of a butterfly’s wings. To create detail on the body-conscious sheath of the “Butterfly” James used a labor-intensive tucking treatment also featured in his “Swan” gown. A wide satin band was utilized to control the volume and drama of the tulle bustle skirt, as well as seamlessly disguising the structural components of the dress. James often utilized similar voluminous shapes and construction methods, especially drapery, to achieve an elegant design that highlighted the feminine form of the wearer. Cinching the waist and featuring an explosion of tulle “wings” this garment transforms the wearer into a beautiful butterfly, which is similar to Dior’s infatuation with depicting women as flowers. James’ 1955 dress plays a significant role in the history of fashion, as it perfectly showcases the designers creative vision and architecture capabilities as well as being one of the first strapless dresses in couture. Read more at the link in the bio!
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1770s womenswear simplified earlier fashions, lead

1770s womenswear simplified earlier fashions, leading to new styles that exemplified the casual aesthetic taking hold with increased use of cottons, wools, and linens demonstrating the popularity of informal ensembles. In this decade the heavily trimmed robe à la française fell out of favor to the robe à l’anglaise which was worn in England throughout the century as a more informal garment. This ensemble had a closed front opening which eliminated the need for a separate stomacher and the back panels were stitched down as far as the waist, continuing into the skirt. Another popular dress style was the robe à la polonaise. This 2-piece gown featured distinctive swags by looping up the skirt with interior ribbons or cords that were attached on the outside of the gown or below the waist. The caraco, a hip-length jacket worn with a petticoat, was once only worn in the privacy of one’s home, but eventually became acceptable for daywear in urban settings. Along with the introduction of informal styles were changes in fashionable textiles. Heavy, brocaded fabrics were traded in for silks that were more lightweight and simpler in design. Informal cottons, wools, and linens with block-printed designs were also popular. Read more at the link in the bio!
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The year 1868 saw many interesting trends for wome

The year 1868 saw many interesting trends for womens’ fashion including skirts with long trains. The crinoline was falling out of favor with The New York Times writing: “Only ignorant women or vulgar now wear crinoline so that it can be detected.” In addition to long trained dresses, walking ensembles consisting of a skirt and paletot (jacket) became popular during this year as well. The waist of a paletot could either hang loosely or be close-fitted with a belt. Some walking ensembles featured quite short hems that revealed short ankle boots. During this time, the sale of ready-made dresses was in its beginning stages. Read more at the link in the bio!
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A muff is a tubular padded covering of fur or fabr

A muff is a tubular padded covering of fur or fabric, into which both hands are placed for warmth. Originally a purse and hand warmer in one, the muff was first introduced to women’s fashion in 1570, when fur trimming was becoming popular. Muffs in the 17th century were unisex but by the 19th, they were considered an accessory for feminine dress. Different types of muffs ranged from large down styles to small fur or velvet ones that matched the trim of the wearer’s dress. During the 1880s, a pocket for a card-case and purse was added into ladies muffs. As with many other elements of excess in womenswear, fur muffs became the subject of 18th-century caricature which mocked their immense size to the point where the woman in the drawing was completely covered by the muff itself. For the first two decades of the 19th century, muffs were considered an essential accessory paired with the thin chemise style dresses that were in vogue. The appeal of the muff lasted well into the 20th century. Muffs, fundamentally a practical accessory for cold winters, make regular returns to fashionability. In a contemporary digital age where hands-free options are considered a necessity, modern muffs are the chicest form of convenience. During fall 2014, accessories designers returned to the 16th century and reimagined muffs for the modern woman. Muffs that were reminiscent of fashionable centuries before made appearances in the fall 2014 collections of Balenciaga and JC de Castelbajac. Read more at the link in the bio!
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The 1720s marked a distinct change in women’s si

The 1720s marked a distinct change in women’s silhouettes from the 2 preceding decades as the robe volante became extremely fashionable. This style of dress replaced the mantua, which became completely out of fashion in France. The robe volante was characterized by its billowing shape, and hung loosely from the shoulders with the excess fabric arranged into flat sewn-down revers at the center front. These panels were set into wide box pleats, and the ensemble was typically seamed at the center from just below the waist to the hem. Elbow length sleeves were finished with fan shaped cuffs that were tightly pleated inside the bend of the arm and expanded outward from the elbow. Filling the front of the gown was the stomacher, pinned to the stays or laced with eyelet holes. A fashionable way to decorate a stomacher was with rows of bows decreasing in size from top to bottom known as an échelle. During this decade women’s undergarments consisted of a linen chemise, a boned corset, and the hoop petticoat, also known as a panier. The hoop was worn by all fashionable women and aided in blurring social class distinctions, promoting social climbing. Read more at the link in the bio!
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Renoir’s 1883 painting, City Dance, features a f

Renoir’s 1883 painting, City Dance, features a fashionable Parisienne dressed in the latest draped evening gown style popular among young women while she waltzes with her dance partner at a winter ball. Renoir hired artist Suzanne Valadon to model as the dancer; Valadon can also be seen in his Dance at Bougival painting as well. From Valadon’s ensemble we can tell that this is a White Ball, made for younger women who wore less elaborate and stylized dresses called robes legéres. She wears this type of gown in a white silk satin draped in a classical style. The dress has a fashionable heart-back neckline trimmed with frothy ruffled organza. The bodice continues a couple inches below the natural waistline, and the skirt is draped in asymmetrical layers hand-tacked in place. This ball dress most likely would have been custom made to meet the customer’s taste and flatter her figure best. The ideal body of the time was inspired by the classical silhouette found in Greek and Roman statuary with a gently rounded and elongated hourglass shape, reflected by Valadon in the painting. Even though her dress is relatively plain and unadorned, it is extremely fashionable and tasteful for her age, reflecting her youthful beauty. Read more at the link in the bio!
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